Editing Jugendstil (section)

==History==
The movement had its origins in [[Munich]] with the founding of an association of visual artists in 1892, which broke away from the more formal historical and academic styles of the Academy.  [[Georg Hirth]] chose the name [[Munich Secession]] for the association. Later, the [[Vienna Secession]], founded in 1897 and the [[Berlin Secession]] took their own names from the Munich group. The journal of the group, ''[[Jugend (magazine)|Jugend]]'', begun in 1896, along with another Munich publication, ''[[Simplicissimus]]'' and ''[[Pan (magazine)|Pan]]'' in Berlin, became the most visible showcases of the new style. The leading figures of this movement, including [[Peter Behrens]], [[Bernhard Pankok]], and [[Richard Riemerschmid]], as well as the majority of the founding members of the Munich Secession, all provided illustrations to ''Jugend''.

In the beginning, the style was used primarily in illustrations and graphic arts. ''Jugendstil'' combined floral decoration and sinuous curves with more geometric lines, and soon was used for covers of novels, advertisements, and exhibition posters. Designers often created original styles of typeface that worked harmoniously with the image, such as the [[Arnold Böcklin (typeface)|Arnold Böcklin typeface]] created in 1904.

[[Otto Eckmann]] was one of the most prominent German artists associated with both ''Jugend'' and ''Pan''. His favourite animal was the swan, and so great was his influence that the swan came to serve as the symbol of the entire movement. Another prominent designer in the style was [[Richard Riemerschmid]], who made furniture, pottery, and other decorative objects in a sober, geometric style that pointed forward toward [[Art Deco]]. The Swiss artist [[Hermann Obrist]], living in Munich, made designs with sinuous double curves, modeled after plants and flowers, which were a prominent motif of the early style.

===Joseph Maria Olbrich and the Darmstadt Artists' Colony ===
The [[Darmstadt Artists' Colony]] is a remarkable collection of ''Jugendstil'' buildings created beginning in 1899 by [[Ernst Ludwig, Grand Duke of Hesse|Ernest Ludwig, Grand Duke of Hesse]], a grandson of Queen Victoria, to promote both commerce and the arts. He brought together a group of designers to create his new community, including [[Peter Behrens]], [[Hans Christiansen (artist)|Hans Christiansen]], and [[Joseph Maria Olbrich]].<ref>Sembach, ''Art Nouveau'' (1991), pp. 141–163</ref>  The Colony architecture represented a complete break with the earlier floral style, and was much bolder in its design. Behrens and several of the other architects built their own houses there, and designed every detail, from the doorknobs to the dishes.<ref>Sembach (1993) pp. 141–163</ref>

The most impressive building of the Colony is the Ernst-Ludwig House, named for the Grand Duke, which contained the workshops of the artists. It was designed by Olbrich, with an entrance in the form of a three-quarter circle, flanked by two statues, ''Force'' and ''Beauty'', by Ludwig Habich (1901).  
 
<gallery heights="220" widths="220" perrow="4">
File:Fauteuil et décors de porte de Peter Behrens (Musée de la colonie d'artistes, Darmstadt) (8729765938).jpg|Armchair and [[aluminium bronze|aluminum bronze]] doors designed by [[Peter Behrens]] for his music room at Darmstadt
File:Darmstadt-Mathildenhoehe-Glueckert-Haus-01-gje.jpg|The Mathildenhöhe – Glückert House (1901)
File:DA-Haus Behrens1.jpg|Behrens' house
File:La colonie dartistes jugendstil (Mathildenhöhe, Darmstadt) (7882268852).jpg|Entrance to the Ernst-Ludwig House,  the workshop of the artists at the Darmstadt Colony, by [[Joseph Maria Olbrich]] (1901)
File:La maison de J.M. Olbrich (Mathildenhöhe, Darmstadt) (7945572864).jpg|Olbrich's house, reconstructed in a simpler style after it was destroyed in World War II. Only the colored checkerboard design is original.
File:Darmstadt-Mathildenhoehe mit Hochzeitsturm 2005-05-08b.jpg|Exhibition Building (1901)
File:Hochzeitsturm DA.jpg|Wedding Tower (1901)
</gallery>

=== Ålesund ===

The Norwegian town of [[Ålesund]] suffered a disastrous fire<ref>{{cite web|title=Ålesundsbrannen |url=https://snl.no/Ålesundsbrannen}}</ref> on 23 January 1904. With the support of [[Kaiser Wilhelm II of Germany]] the town was reconstructed in Jugendstil by local Norwegian designers and architects.<ref>{{cite web|title=Ålesund Fire|url=https://www.lifeinnorway.net/alesund-city-fire/}}</ref> To honor Wilhelm, one of the most frequented streets<ref>{{cite web|title=Keiser Wilhelms gate |url=https://www.google.com/maps/place/Keiser+Wilhelms+g.+2,+6003+%C3%85lesund,+Norway/@62.4702977,6.1477576,17z/data=!4m14!1m7!3m6!1s0x4616da413aeae3fb:0x357c8fd39e9ac97!2sKeiser+Wilhelm+II+Bauta!8m2!3d62.4740434!4d6.1609376!16s%2Fg%2F11fy4dtdv7!3m5!1s0x4616da3863323e65:0x7e3e6b904ba73874!8m2!3d62.4702978!4d6.1526285!16s%2Fg%2F11g61cth4z?entry=ttu&g_ep=EgoyMDI1MDQwMi4xIKXMDSoASAFQAw%3D%3D}}</ref> of the town is named after him.

=== Henry van de Velde and Weimar ===
<gallery heights="220" widths="220" perrow="3">
File:Kunstpalast, Raum 6 Henry Van de Velde Zimmer, Foto Otto Renard, 1902.jpg|Interior of Room 6 of the Arts Palace, Düsseldorf by [[Henry van de Velde]] (1902)
File:Deep plate by Henry van de Velde, Meissen factory, 1903, porcelain with blue underglaze and gold decoration - Hessisches Landesmuseum Darmstadt - Darmstadt, Germany - DSC00722.jpg|Porcelain plate by Henry van de Velde for [[Meissen porcelain|Meissen]] factory (1903) (Darmstadt Museum)
File:Henry van de velde per theodor müller, terrina (1905-06 ca.) e coltello da caviale (1903), argento, weimar.JPG|Silver terrine by Henry van de Velde (1905–06)
</gallery>The city of [[Weimar]] was another important center of the ''Jugendstil'', thanks largely to the Belgian architect and designer [[Henry van de Velde]]. Van de Velde had played an important role in the early Belgian Art Nouveau, building his own house and decorating it in Art Nouveau style, with the strong influence of the British [[Arts and Crafts Movement]]. He was a known in Germany for his work in Belgium and Paris, and began a new career in Dresden in 1897, with a display at the Dresden Exposition of decorative arts. His work became known in Germany through decorative arts journals, and he received several commissions for interiors in Berlin, for a villa in [[Chemnitz]], the [[Folkwang Museum]] in [[Hagen]], and the Nietzsche House in [[Weimar]] for [[Elisabeth Förster-Nietzsche]], the sister of philosopher [[Friedrich Nietzsche]]. He settled in Weimar in 1899 and produced a wide variety of decorative works, including silverware and ceramics, all in strikingly original forms. His silverware was particularly unusual: each piece had its own form, with sleek curving lines, but together they formed a harmonious ensemble. In 1902, he decorated the apartment of Count [[Harry Graf Kessler|Harry Kessler]], a prominent patron of the Impressionist painters.<ref>Sembach (1991), pp. 132–134</ref>

In 1905, with the patronage of the Grand Duke of Weimar, he created the Grand Ducal School of Arts and Crafts in Weimar. He created a showcase of applied arts for the Dresden Exposition of Applied Arts in 1906, decorated with paintings by [[Ludwig von Hofmann]], intended as the main room of a new museum of decoration in Weimar. He transposed the characteristics of his silverware, dishes, and furniture into the architecture. Van de Velde left off the curling vegetal lines of Art Nouveau decoration and replaced them with much simpler, more stylized curves which were part of  the structure of his buildings and decorative works.<ref>Sembach (1991), pp. 132–134</ref>

The importance of Weimar as a cultural center of the ''Jugendstil'' was ended in 1906, when its main patron, Count Harry Kessler, commissioned [[Rodin]] to make a nude statue for the Grand Duke. The Grand Duke was scandalized, and Kessler was forced to resign. The Weimar school of design lost its importance until 1919, when it returned as the [[Bauhaus]] under [[Walter Gropius]], and played a major part in the emergence of [[modern architecture]].<ref>Sembach (1991), p. 139</ref>

=== Peter Behrens and the German ''Werkbund'' ===
The architect and designer [[Peter Behrens]] (1868–1940) was a key figure in the final years of the ''Jugendstil'', and in the transition to modern architecture.  Born in [[Hamburg]], where he studied painting, Behrens moved to Munich in 1890 and worked as a painter, illustrator and bookbinder. In 1890, he was one of the founders of the [[Munich Secession]]. In 1899, he was invited to participate in the [[Darmstadt Artists' Colony]],  where he designed his own house and all of its contents, including the furniture, towels and dishes.

After 1900 he became involved in [[industrial design]] and the reform of architecture to more functional forms. In 1902, he  participated in the Turin International Exposition, one of the first major Europe-wide showcases of Art Nouveau. In 1907, Behrens and a group of other notable ''Jugendstil'' artists, including ([[Hermann Muthesius]], [[Theodor Fischer]], [[Josef Hoffmann]], [[Joseph Maria Olbrich]], [[Bruno Paul]], [[Richard Riemerschmid]], and [[Fritz Schumacher (architect)|Fritz Schumacher]], created the [[Deutscher Werkbund]]. Modeled after the [[Arts and Crafts movement]] in England, its goal was to improve and modernize the design of industrial products and everyday objects. He first major project was [[AEG turbine factory]] in Berlin (1908–1909). Behren's assistants and students at this time included [[Mies van der Rohe]], C. E. Jeanerette (the future [[Le Corbusier]]), and [[Walter Gropius]], the future head of the [[Bauhaus]]. The work of Behrens and the Werkbund effectively launched the transition from the ''Jugendstil'' to modernism in Germany, and the end of the ''Jugendstil''.<ref>Bony, ''L'Architecture Moderne'' (2012), pp. 55–57</ref>

<gallery heights="220" widths="220">
File:MusikzimmerHausBehrensSchiedmayer.jpg|Music room of Behrens' house in Darmstadt (1902)
File:AEG by Peter Behrens.jpg|[[AEG turbine factory]] in Berlin, by Peter Behrens (1908–1909)
</gallery>